This year’s ballots present 44 opportunities for voting members of the Academy of Motion Arts and Sciences to honor women with their industry’s ultimate peer recognition.
Of course, ten of those women are actresses and their names appear in categories reserved exclusively for women–albeit one of them, Cate Blanchett, is nominated for her brilliant performance as a man.
The remaining 34 women are eligible for golden statuettes in 15 of the 25 Oscars categories. They are:
- JUNO (Fox Searchlight), A Mandate Pictures/Mr. Mudd Production, Lianne Halfon, Mason Novick and Russell Smith, Producers
- MICHAEL CLAYTON (Warner Bros.), A Clayton Productions, LLC Production, Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
- THERE WILL BE BLOOD (Paramount Vantage and Miramax), A JoAnne Sellar/Ghoulardi Film Company Production, JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers
Best Adapted Screenplay:
- AWAY FROM HER (Lionsgate), written by Sarah Polley
Best Original screenplay:
- JUNO (Fox Searchlight), written by Diablo Cody
- LARS AND THE REAL GIRL (MGM), written by Nancy Oliver
- THE SAVAGES (Fox Searchlight), written by Tamara Jenkins
Best Documentary Feature:
- NO END IN SIGHT, Charles Ferguson and Audrey Marrs
- SICKO (Lionsgate and The Weinstein Company), A Dog Eat Dog Films Production, Michael Moore and Meghan OHara
- TAXI TO THE DARK SIDE (THINKFilm), An X-Ray Production,
Alex Gibney and Eva Orner
- WAR DANCE (THINKFilm), A Shine Global and Fine Films Production, Andrea Nix Fine and Sean Fine
Best Documentary Short:
- FREEHOLD, A Lieutenant Films Production, Cynthia Wade and Vanessa Roth
- LA CORONA (THE CROWN), A Runaway Films and Vega Films Production, Amanda Micheli and Isabel Vega
Best Animated Feature:
- PERSEPOLIS (Sony Pictures Classics), Marjane Satrapi and Vincent Paronnaud
Best Animated Short:
- PETER & THE WOLF (BreakThru Films), A BreakThru Films/Se-ma-for Studios Production, Suzie Templeton and Hugh Welchman
Best Live Action Short:
- AT NIGHT, A Zentropa Entertainments 10 Production, Christian E. Christiansen and Louise Vesth
- IL SUPPLENTE (THE SUBSTITUTE), (Sky Cinema Italia), A Frame by Frame Italia Production, Andrea Jublin
- TANGHI ARGENTINI (Premium Films), An Another Dimension of an Idea Production, Guido Thys and Anja Daelemans
Achievement In Sound Editing:
- THE BOURNE ULTIMATUM (Universal), Karen Baker Landers and Per Hallberg
Achievement In Film Editing:
- THE DIVING BELL AND THE BUTTERFLY (Miramax/Pathé Renn), Juliette Welfling
Achievement in Art Direction:
- AMERICAN GANGSTER (Universal), Art Direction: Arthur Max, Set Decoration: Beth A. Rubino
- ATONEMENT (Focus Features), Art Direction: Sarah Greenwood, Set Decoration: Katie Spencer
- THE GOLDEN COMPASS (New Line in association with Ingenious Film Partners), Art Direction: Dennis Gassner, Set Decoration: Anna Pinnock
- SWEENEY TODD THE DEMON BARBER OF FLEET STREET (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount), Art Direction: Dante Ferretti, Set Decoration: Francesca Lo Schiavo
Achievement In Costume Design:
- ATONEMENT (Focus Features), Jacqueline Durran
- ELIZABETH: THE GOLDEN AGE (Universal), Alexandra Byrne
- LA VIE EN ROSE (Picturehouse), Marit Allen
- SWEENEY TOOD THE DEMON BARBER OF FLEET STREET (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount), Colleen Atwood
Achievement In Makeup:
- LA VIE EN ROSE (Picturehouse), Didier Lavergne and Jan Archibald
- PIRATES OF THE CARIBBEAN: AT WORLD’S END, (Walt Disney), Ve Neill and Martin Samuel
Achievement In Music Written For Motion Pictures, Original Song:
- FALLING SLOWLY from ONCE (Fox Searchlight), Music and Lyric by Glen Hansard and Marketa Irglova
Women score big this year as writers, although writer/directors Sarah Polley and Tamara Jenkins were given the nod for but half of their skill set.
It’s good to see that in the Documentary Feature category, in which it seems men again reign after fem-helmed films ruled last year’s list, that women are credited along with the very famous Charles Ferguson, Alex Gibney and Michael Moore for three superb and important films.
Note that women were not nominated for Best Director, Best Cinematography, Best Foreign Film, Best Original Score, Achievement in Sound Mixing nor Achievement in Visual Effects.
We like to think we’ve come a long way, but it’s obvious there’s a still a long way to go before we reach any measure of equal opportunity for women in behind-the-camera jobs.
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